The New & Avant-garde Music Store

Bridge (CD) Track listing detail

Bridge One: Firth of Forth

Lori Freedman

  • Year of composition: 2009
  • Duration: 2:12

Stereo

ISRC CAA4J0910093

  • 44,1 kHz, 16 bits

Flicker

Michel Galante

  • Year of composition: 2007
  • Duration: 2:57

Stereo

ISRC CAA4J0910094

  • 44,1 kHz, 16 bits

Itou

Pascal Dusapin

  • Year of composition: 1985
  • Duration: 7:33
  • Instrumentation: bass clarinet

Stereo

ISRC CAA4J0910095

  • 44,1 kHz, 16 bits

Brief Candles

Lori Freedman

  • Year of composition: 2006
  • Duration: 11:01
  • Instrumentation: bass clarinet

Stereo

ISRC CAA4J0910096

  • 44,1 kHz, 16 bits

Maknongan

Giacinto Scelsi

  • Year of composition: 1976
  • Duration: 4:24
  • Instrumentation: contrabass clarinet

Stereo

ISRC CAA4J0910097

  • 44,1 kHz, 16 bits

Bridge Two: de Normandie

Lori Freedman

  • Year of composition: 2009
  • Duration: 5:20

Stereo

ISRC CAA4J0910098

  • 44,1 kHz, 16 bits

Clair

Franco Donatoni

  • Year of composition: 1980
  • Duration: 5:08
  • Instrumentation: bass clarinet

Stereo

ISRC CAA4J0910099

  • 44,1 kHz, 16 bits

Simulacre

Georges Aperghis

  • Year of composition: 1995
  • Duration: 8:11
  • Instrumentation: bass clarinet

Stereo

ISRC CAA4J0910100

  • 44,1 kHz, 16 bits

Bridge Three: 59th Street

Lori Freedman

  • Year of composition: 2009
  • Duration: 6:00

Stereo

ISRC CAA4J0910101

  • 44,1 kHz, 16 bits

low memory #3

Monique Jean

  • Year of composition: 2005
  • Duration: 11:46
  • Instrumentation: bass clarinet (B-flat clarinet), processing and stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Lori Freedman, with support from the CCA

Stereo

ISRC CAA4J0910102

  • 44,1 kHz, 16 bits

This work is about loosing one’s points of reference and the state of confusion caused by this, the attempts at reestablishing some kind of balance, and the return of rhythm.

Most of my mixed music works are written for a solo instrumentalist, live manipulation, and fixed sounds. In them, I try to highlight the uniqueness of each performer. Each performer’s gesture — the soundprint of a singularity — is magnified and broken down to its energetic principles, which then become the theme of the piece.

low memory #3 was made using the unique gestures and sounds of Lori Freedman, a fantastic clarinetist who fully engaged with the project, with passion, patience, and ardour. In this piece, I have tried to find energetic and gestural matches between instrumental sounds, live manipulations, and fixed sound sequences, so that these three stratas could develop autonomously but in a single direction to form continuously-developing sequences.

[English translation: François Couture, vi-12]


low memory #3 was realized in 2005 at the composer’s studio and premiered by Lori Freedman on April 19, 2005 at the Chapelle historique du Bon-Pasteur in Montréal (Québec). The piece was commissioned by Lori Freedman with support from the Canada Council for the Arts (CCA).


Premiere

  • April 19, 2005, Lori Freedman, clarinets • There, in Here, Chapelle historique du Bon-Pasteur, Montréal (Québec)

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